Analysis and
practice in preparation are the steps over which we must climb to the
platform of power. Having attained this, the infinite variety of the
broader vision calls forth the expression of all that has been previously
involved.
Dramatic adaptation, then, from the standpoint of expressive voice
culture, is attained by free and varied development, focused in the
psychological triumph at the moment of interpretation. The body is as a
musical instrument of which the voice is the reporter. There are two
things to be sought in the artistic voice: one is concentration of
consciousness in the vibration of the tone so that the voice may be filled
with conscious motive; the other is the response of the free voice to the
powerful act of the imagination. Affirmatively, the voice vibrates with
the individual message. Reflectively, it mirrors the ideal conceived at
the moment of speech. The orator must have the former of these two powers
of the voice. The artist, though emphasizing the latter, can scarcely
achieve power in this without also attaining the former.
LYRIC INTERPRETATION
In the rendering of lyric poetry there are two extremes to be avoided. One
is the musical tendency to obscure the sense, as in "sing-song" rendering;
the other is the reactionary effort made by many would-be sensible people
to make prose of the poetry by excluding all the music and rhythm in
emphasizing the literal meaning.
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